Journalism& Media
The gradireland Journalism & Media sector careerguide is published by The Association of GraduateCareers Services in Ireland (AGCSI) and GTISpecialist Publishers Ltd (Ireland).
Project managed by AGCSI Careers InformationCommittee:Philip Clarke, Queen’s University BelfastPaul Murphy, Dún Laoghaire Institute of Art,
Design and Technology (co-chairs)Kendra Cassidy, NUI, Galway (secretary)Colette Aungier, Trinity College DublinCora Cregan, St Patrick’s College, DrumcondraSeamus McConomy, University of UlsterCatherine Lyster, Letterkenny Institute of
TechnologyMary Egan, Athlone Institute of TechnologyGeraldine Fay, Dublin City University
Editor Penny KileyDesign & production Maya LittleProofreader Naomi HoldstockPublishers Chris Phillips, Adrian Wood
GTI Ireland, 7–9 Upper Baggot Street, Dublin 4,Ireland
T +353 (0)1 660 3422 F +353 (0)1 660 6623
© December 2005 The Association of GraduateCareers Services in Ireland (AGCSI) and GTISpecialist Publishers Ltd (Ireland). All rightsreserved. No part of this publication may bereproduced by any means including, but notlimited to, photocopying or stored in a retrievalsystem in any form without prior written consentof AGCSI. This is subject to the single exception ofphotocopying by AGCSI-member institutions. Allitems so used should be fully acknowledged. Theviews expressed in articles are those of the authorand their publication does not necessarily implythat such views are shared by AGCSI and GTI.Whilst every care has been taken in thecompilation of this publication, the author andpublishers cannot accept responsibility for anyinaccuracies, or for consequential loss arisingfrom such inaccuracies, or for any other loss,direct or consequential, arising in connectionwith information in this publication.
go to | 1
ÜCONTENTS
Opportunities in Ireland and Northern
Ireland ..............................................................2
Film and television ..............................4–10
Radio ......................................................11–13
Journalism............................................14–18
Further study and courses ....................19
Further information ................................21
Writer: HELLEN GALLAGHER,Mary Immaculate College, University of Limerick
gradireland is brought to
you by your Careers Service
and published by AGCSI
and GTI Ireland
The Association of Graduate
Careers Services in Ireland
(AGCSI) is the professional
association for careers services in
higher education in Ireland,
north and south. It fosters co-
operation among the individual
careers services, producing a
range of careers publications for
students and graduates.
GTI Ireland is a division of GTI
Specialist Publishers, one of the
leading graduate careers
publishers in Europe, publishing
over 100 careers magazines and
directories each year as well as
the graduate careers website for
the UK doctorjob.com.
For more information about any
of the gradireland products
please contact: Louise Simpson
at GTI Ireland, 9–11 Upper
Baggot Street, Dublin 4, Ireland,
T +353 (0)1 660 3422,
F +353 (0) 1 660 6623 or e-mail
Opportunities inIreland and NorthernIrelandEmployment opportunities are getting broader, but this is acompetitive market.
2 | Journalism & Media
Ü
This booklet covers several career fields –
journalism, print media, film, television
and radio – and encompasses a wide
range of job specifications. Careers in these
fields are not limited to graduates of media,
journalism or communications courses:
graduates of many disciplines, from
engineering to liberal arts or art and design, can
forge a path for themselves in many of these
industries, sometimes through further study or
Reproduced permission of Zanzibar films.
go to | 3
training, sometimes by sheer hard graft and
canny networking.
Training courses in journalism and media
within Ireland and Northern Ireland are
constantly increasing, both in quantity and
quality. While there can be no doubt that
employment opportunities in Ireland in this
area have become much broader (and this
growth is forecast to continue), whether the job
market can keep up with the increase in
graduates seeking careers in these industries is
open to debate. The National Union of
Journalists gives a number of approximately
4,700 journalists in Ireland and Northern
Ireland, while Screen Producers Ireland states
that there are over 4,300 people employed
directly in the film and television industry in
Ireland. One trend in media employment
remains constant; for recent graduates, initial
work tends to be piecemeal and sporadic.
Many graduates, particularly those in
Northern Ireland, may choose to move
backwards and forwards across the Irish
Channel to access education, training and job
opportunities in the UK. Some travel further
afield, but the tendency is to return to work in
Ireland after gaining experience or training,
rather than to remain part of the diaspora.
One of the major forces for change within
these industries is the whole area of new
technology and computer software. Programs
such as Final Cut Pro, Pro Tools, 3D Studio Max,
Flash, Director, Illustrator and Dreamweaver ,
have started to ‘merge’ in terms of their media
uses; markets have altered dramatically in
terms of the internet and broadband
availability and, as people look for more online
entertainment, they create a demand for web-
based ‘media’, which is fast becoming a
lucrative market.
‘We envisage production risingfrom about £123m at present toover £500m by 2010, and acommensurate increase in highlyskilled direct employment andemployment in related services.’The Strategic Development of the Irish Filmand Television Industry 2000–2010
Final Report of the Film Industry StrategicReview Group to the Minister for Arts,Heritage, Gaeltacht and the Islands. August1999. Department of Arts, Heritage,Gaeltacht and the Islands.
‘The number of productions perannum has increased from anaverage of six per year in the period1989 to 1992 (prior to introductionof the film tax incentive forindividual investors) to an averageof 21 productions per year duringthe period 2000–2001.’Screen Producers Ireland
Finally, more and more graduates are
moving into teaching in this area. The sheer
number of media and journalism related
courses in Ireland and Northern Ireland
demonstrates that this is fast becoming much
more than a mini industry.
4 | Journalism & Media
Film and televisionThere are many different job roles in this industry, but they allneed a ‘foot in the door’.
Ü
Within film and television, there are
many different job types, with many
more hybrids, depending on the area
or size of the organisation. Entry to these
careers can be as varied as the job descriptions
themselves. The following (very brief) overview
sets out several of the job titles common in
media industries.
Producer Producers are the people who make it all
happen by combining creative input with
business know-how. The producer decides how
resources will be deployed and may be
instrumental in accessing funding. Some travel
may be involved, and some work will be carried
out on set, but much is office-based. Wherever
the work takes place, the hours are long and
irregular. Work is normally freelance.
DirectorDirectors are the creatives who plan and
organise a production. They manage all aspects
of a shoot and its post-production and can be
involved in just about any area of production, as
well as liaising with all areas of the team. This
work involves incredibly long hours and can
involve just about any location imaginable.
Production manager Production managers are the ‘go-betweens’
who prepare the ground for filming to begin.
go to | 5
They are involved in sourcing locations, crews
and actors, preparing scripts and schedules and
complying with legal requirements. This work
involves the standard industry long and
irregular hours and is normally freelance.
Assistant directorThere is a hierarchical scale for assistant directors
(1, 2 and 3), but all are involved in organisation
and planning. This includes implementing the
shooting schedule, providing a link between set
and producer, organising actors on set and
ensuring that health and safety requirements
are adhered to. For the duration of shooting,
much of an assistant director’s work is carried
out on set, for long, long hours. Work is normally
freelance, apart from work in major television
companies and very large production companies.
Production assistantThis is an organisational role and involves much
liaison with other members of the production
team. The job includes a lot of administrative
work, including scheduling (staff and locations),
overseeing scripts, obtaining clearances and
often much more. This work is normally
freelance, can involve extensive travel and
always involves long, irregular hours.
ScreenwriterScreenwriters write the scripts that become
television programmes and films. A significant
period of time is spent rewriting these scripts
for a series of drafts. Screenwriters tend to work
freelance on specific commissions.
Sound technician Sound technicians work with sound equipment
and technology to record, balance and monitor
(and sometimes mix) sound for radio, television
and film. Work tends to be carried out within a
studio and hours can be highly irregular. Much
of the work is freelance.
Camera operator There are several hierarchical sub-categories
within this job title: clapper/loader, focus puller,
camera operator. All involve the use of cameras
and other equipment, video and digital
technology. Obviously technical training is
required. Some television/production
companies retain camera operators, but most
of the work is freelance.
Researcher The title is self-explanatory: researchers collect
accurate information for film, TV and radio
productions. Work is often freelance and can be
very specialised. General research work may
provide an entry point to production in radio,
television or film.
Other rolesObviously, there are a myriad of other careers
within this industry, such as animator, set
designer or wardrobe designer, quite apart from
support industry personnel from other fields
such as finance, law and administration and
ancillary fields such as marketing.
What to expectThe hours are long, hard and irregular. However,
‘Be willing to work for free at thestart. Particularly, show awillingness to travel.’Áine Ní Dhúil, Script/Production Associate
6 | Journalism & Media
provided you are a member of the Services,
Industrial, Professional and Technical Union
(SIPTU), you will be well-paid, though there are
exceptions for low-budget productions. In these
cases, crew get paid minimum rates. Depending
on your skills (camera, lighting, production,
direction, writing, floor management, sound
engineering, set designing, web designing, etc),
pay scales will reflect your grade if a union is
involved; if not, experience is taken into
consideration.
Obviously, the higher up the scale you work,
the better the money and the more tempting
the travel opportunities, but full-time
employment is still difficult to come by. That’s
when you become established in your chosen
career. The reality for most job seekers starting
out is that they will initially work for very low
wages, or even for free on short-term contracts,
in order to ‘get their foot in the door’.
Film and television work demands someone
who is flexible time-wise. Television drama may
require 12 –14 hour days, six days a week for up
to 12 weeks; feature film work has a similarly
demanding timescale. Copywriting for radio
adverts will involve short, tight 72-hour deadlines.
The ideal candidateA degree is not necessarily required, but can be
a good place to start. Specific qualifications or
training are directly related to specific
departments. Leaving education and training
aside, the requirements for many of the jobs in
film and television disciplines are very similar:
‘Concorde Anois Teo, Hofnaflus anda number of other Clare/Galway-based companies are regularlyhiring, so currently having Irish isprobably an advantage, as a lot ofgraduates with Irish are gettingwork not only with thesecompanies but also with TG4.’Nicky Fennell, Lecturer in Media &Communications Studies, Mary ImmaculateCollege
NAME Áine Ní DhúilJOB Script/Production Associate on Ros naRún for TG4EDUCATION BA in Irish & Media &Communication Studies (2001); HDip inApplied Communications (2002)
How did you get your job?On Ros na Rún, I started off with six-monthcontracts. Last year I became StudioCoordinator/Locations Manager. I had severalcontracts before I got into production andthere were periods in between when I had nowork. My current job is my first twelve-monthcontract. During my off-campus year at college,I worked as a Researcher/Production Assistantwith Gael Media. Then, during my HDip, I gotwork experience with a production company inGalway on Féilte. After graduating in 2002, Iworked on shorts – which I heard about byword of mouth. During this time, I got to do abit of everything. It seemed that each job gaveme contacts that led to another job.Companies would ring production companies Ihad worked for looking for a list of people andmy name was passed on. Eventually, I wentback to Féilte and then on to Ros na Rún. Ros naRún regularly take on a lot of trainees. Onceyou are in there, you can move around and it’sa great way of learning about all aspects of thejob. I saw the advertisement for my first jobwith Ros na Rún in Foinse.
What does the job involve?Áine’s job is an amalgam and entailswatching and managing several different
STORYLINE, STRUCTURE AND SCRIPT
go to | 7
• the ability to work well in a team
• people skills
• punctuality and reliability
• time management and the ability to work to
deadlines
• availability
• initiative
• tenacity and a very thick neck!
• a full driving licence – this has become an
essential requirement for many areas.
What most prospective employers really
want, however, is proven experience. This is the
Catch 22 – how to get that experience.
areas. Primarily, she ensures that writingparameters are adhered to. This means shekeeps on top of the storyline, structure andscript for up to four drafts at each stage of theproduction. Issues would include: ensuringinsurance regulations are adhered to (forinstance, actors may not be shown cuttingvegetables!); making sure character usage is inline with actors’ contracts; making sure thatscheduling of weekly and daily actors isappropriate; monitoring set usage (makingsure money isn’t wasted just shooting onescene in a distant location); and flagging theseissues as they arise. To keep on top of all ofthis, she liaises with the series producer, theproduction manager, writers, and thepersonnel and accounts departments.
How did your degree help prepare youfor your work?My degree was quite broad, which inhindsight was a good thing. I had a nicebalance between theory and practical coursesand my off-campus year gave me a greatunderstanding of the area. My diploma yeardid not really expand on this much, but thethree months’ work experience was veryuseful and, of course, hooked me up withsome work after I had finished. If you do get towork in a research area, you’ll find that allthose skills you learned in college do help.
What training have you received?I got to do lots of training on Ros na Rún, as Ihad a try at everything. Also, Ros na Rúnencourages staff to go on a lot of trainingcourses – and pays for them – so I have done
courses in assistant directing, time-management, research for TV and – veryimportant – occupational health and safety.The courses were provided by variousorganisations: FÁS, Skillset and the BBC.
Advice for graduates• Bang on doors and show your face – be
enthusiastic!• When submitting CVs, pay attention to
simple things like presentation.• If applying to an Irish-orientated
organisation, make an effort to use your Irish.• Scriptwriters really earn their money: they
are constantly rewriting. You have beenwarned!
• For interviews, have heaps of suggestions,even if they seem off the wall.
• The Irish Film and Television Network (IFTN)website is a good place to look for jobs.
• If you are going for a specific area, such ascamera work, have some material whichshows your skills to bring to interviews.
• Word of mouth makes reputations; alwaysbe nice to everyone. It’s a team thing and areputation for being good to work with doesget you jobs.
• Don’t be fussy – you don’t have that luxuryat the start – just get in and get started.
• You will find that in small productioncompanies, for any job, you will end updoing much more than the job specdescribed to you in college.
• Start building up your skills during yourundergraduate years, offer to work for freeover the summer, with Pat Shortt ifnecessary!
8 | Journalism & Media
NAME Edwina ForkinJOB Film Producer, Zanzibar FilmsEDUCATION BA, Philosophy (1990)TRAINING Media Business School, Ronda,Spain; European Audiovisual Entrepreneurs(EAVE)
How did you get your job?I had worked in the music business in America.When I came back to Ireland, a friend who wasa producer said I would be good at producing,although I had no idea what a producer did.This friend provided a contact, which led to myfirst job as a trainee production assistant. Iwould say I got the job because I was oldercoming into the industry, I had more lifeexperience and I also had the necessaryequipment: a car, phone and computer.
I worked as a casting assistant/locationsassistant. Following from my work there, I wasrecommended to Hubbard who were doing abig job for Bord Failte. This was a hugeadvertising project and I kept getting workfollowing that. Another contact led to my firstshort film.
Meanwhile, on the sidelines, I continued tomake applications to film boards for featurefilms, shorts, etc. Then, a contact who hadsome start-up money asked me to produce the
film Zanzibar, the first Irish film on 35 mm. Itwas a good film and we went to the Irish FilmBoard for completion money and got €24,000.In order to access the money, I had to set up aproduction company, so I started ZanzibarFilms. I kept putting in applications for awards(and we kept winning!) and was head-huntedto produce several commercials.
When I got development money for myfirst feature, I quit my job (Monday to Fridaywas made up of some freelance, someretainers for commercials – weekends andholidays I worked on films) and really wentinto producing and started bringing in moneyfor features.
What does the job involve?Edwina’s work centres on finding products –scripts – and raising the money to producethem, then finding the right distributor tomarket them. Her work involves a lot oftravelling to film fairs to market productions –Cannes, Rotterdam, Galway! Essentially, she isrunning a company: it is a business. Thecompany includes a head of development,another producer and an assistant. Applicationsfor development funding have to besubmitted constantly and contracts and book-keeping must be processed, so she also has tobe an accountant and lawyer to some degree.
Getting a jobFirstly, sending CVs to television companies is
unlikely to result in job offers for those starting
their careers. RTÉ’s website states that it
‘employs under 2,000 people, including the
many broadcasting personalities who provide
RTÉ’s unique mix on radio and television,
together with writers, journalists, musicians,
actors, designers, producers and technical staff.’
It should be noted that this figure includes
various support staff, and is not a reflective
number of actual media-type jobs. The RTÉ
website does advertise positions in its Job
Vacancies Section, helpfully labelled ‘Graduate
Placement’, but don’t hold your breath. (The
BBC also advertises entry-level positions: there
is a training scheme which can lead to
employment within the BBC, but competition
for these places is cut-throat.)
The other two national television stations
are TV3 (a free-to-air commercial, independent
television network) and TG4 (which seeks to
‘provide a high quality programming schedule
in Irish and other languages’).
IT IS CREATIVE BUT IT’S REALLY A BUSINESS
go to | 9
How did your degree help prepare youfor work?My degree was in Philosophy and involved alot of writing – this really helps withproposals. Studying also trained me to meetdeadlines, which is essential in my work.
What training have you received?I have done a lot of European training courses,with Media Business School, Ronda, Spain;EAVE. These training courses helped mebecome the producer I am. The Europeancourses really honed my abilities and taughtme the business. I try to do a course every yearto keep up to date with developments, and allthe staff in the company are sent on courses.
Advice for graduates• There is definitely a ladder system. Be willing
to start at the bottom and work hard.• It is really necessary to have a car and other
tools, not just computers, but goodcommunication skills are also important.
• Be polite and courteous, and be fair to teamworkers. Your reputation is very valuable.
• Always aim for the best standards in orderto make a name for yourself. Zanzibar Filmswas the first Irish company to use 35 mmand laser, and we always aimed to producethe highest quality product.
• Have a mission statement – that’s what youstand for as a company, or even as anindividual.
• Film festivals in Cork, Galway, Kerry, Omaghand Belfast provide great networkingopportunities.
• For interviews, personal presentation isimportant. Film may have a name as a laid-back industry, but you need to look smart.
• In interviews, final choices are personality-driven: people will hire someone they thinkwill fit into the team.
• Be positive!
TG4 has broken the mould over the last few
years – the average employee age is around 28
and younger employees are being given proper
responsibility, which has not previously been
standard practice in Irish television.
The normal pattern in film and television is
to do a degree in media, film, advertising,
journalism or a related field and then spend a
few years working freelance for a pittance while
building up a CV and establishing a reputation
which will lead to more regular work. This can
be seen as an ‘apprenticeship’ period and
graduates should realise that they will probably
need to support themselves for about two to
three years, whether this be by working
graveyard shifts or borrowing up to the hilt.
So, the first step is probably to get a short-
term contract, or even just a work experience
placement, with a production company.
There are a number of publications available
from the Irish Film Institute which list
production companies and give contacts and
addresses. These can be sourced on their
website www.ifi.ie, but be warned: every
Zanzibar crewReproduced permission of Zanzibar films.
10 | Journalism & Media
company listed is bombarded in May of every
year with placement requests and very few are
in a situation to be able to provide them.
A more strategic route is to keep up to date
with what projects are due to begin production
and then apply to the relevant companies.
Many short-term productions run over the
summer or last for six to eight weeks. This work
experience can be invaluable to those starting
out.
Where to look• Irish Film and Television Network
www.iftn.ie. Look under Production. Gives list
of all current film productions ‘Chaser Lists’:
students can use these to contact companies
to research work options.
• Irish Film Board www.filmboard.ie. Look
under News and Information. Check under
‘Funding Decisions’: this shows which
documentaries and feature films will be in
production.
• Ireland On Screen. Book produced by Film
Base.
• Film Scan. Available from the Irish Film Centre
in Dublin for €12.
From a film and television point of view,
joining organisations like Film Base, the Galway
Film Centre or the Cork Film Centre can be
useful, but only if you are based in the vicinity
of those organisations. Membership does
entitle you to enter script award competitions
which can be a fast way of ‘launching’ yourself.
Many graduates who want to work in film
will try to get a SIPTU card. This means that
four members of the film union must sign a
form agreeing to nominate them for a specific
job description (first assistant director,
production assistant, clapper/loader, etc).
Once they have their card they can only work
in that specific area and based on an ‘hours
worked’ system. They enter a sort of
‘apprenticeship’ whereby they build up work
and experience and gradually move up the
grades. Under Section 481 the tax breaks given
to production companies shooting in Ireland
are related to the number of Irish people
employed, and SIPTU cards are fairly essential
for this kind of work.
Film Ireland (Issue 105 July/August 2005)
has a useful article entitled ‘Points of Entry’, a
practical guide to getting into the industry
which includes the cunning strategies of young
people working in the industry who managed
to get their foot in the door.
Skillset Careers website (www.skillset.org)
has a searchable database of broadcast, film,
video and interactive media careers in the UK,
including Northern Ireland.
Applications and interviewsFor all careers in these industries, recruiters are
looking for one major item on CVs – experience.
So include every scrap of experience you have
garnered, whether it be a couple of weeks’ work
experience, college productions, or broadcasting
for community radio. Obviously, CVs must be
professionally presented and, even if this is not
requested, should be accompanied by some
material which highlights your skills in this area,
even if it is only a video produced in college.
Interview processes vary, depending on the
particular job. Entry-level applicants who are
lucky enough to make the shortlist may be
brought back to carry out some work which will
highlight their skill level and how they function
as part of a team.
go to | 11
RadioThe nature of this work has changed dramatically.
Ü
Radio occupies a special niche, bearing
many similarities to television
production, but just as many differences.
Quite often, those working in radio will carry
out work from several departments, reporting/
producing, recording and mixing ready for
broadcast. Furthermore, radio work is more
likely to go out live than television productions.
Generally, radio work can be broken down
into content production (including station
manager, producer, reporter/journalist, DJ/
presenter, researcher, runner) and technical
production (engineers with relevant training).
As with film and television work, radio can
involve very irregular and unsocial hours. Again,
recent graduates must often start off with
unpaid or poorly paid work in order to get
experience. Those beginning their careers can
expect to work part time at first, for which they
should get at least the minimum wage.
Graduates should get between €12 and €15
(£8–£10) per hour. Wage rates very much
depend on whether the job is unionised. It is
advisable for new employees to join the
National Union of Journalists when they start.
Obviously, the big name in radio in Ireland is
RTÉ (www.rte.ie). RTÉ Radio consists of four
stations, RTÉ Radio 1, RTÉ 2FM, RTÉ Lyric FM and
RTÉ Raidió na Gaeltachta. RTÉ News and
Current Affairs provides the public with daily
news and current affairs services via RTÉ Radio,
RTÉ Television and online via their website.
Radio in Ireland is not limited to RTÉ.
Commercial radio is huge: there are 26
commercial stations, one national station
(Today FM), one regional station (Beat FM) and
19 community radio stations, plus six hospital
radio stations. This all adds up to a lot of
opportunities outside of the RTÉ orbit.
Furthermore, there are more opportunities in
the pipeline, with more regional stations and a
youth radio station forthcoming. It would be
advisable to keep an eye on the Broadcasting
Commission of Ireland website (www.bci.ie) to
see what new licences are offered and,
naturally, to check the newspapers to see what
developments are reported.
Technically, the nature of radio has changed
dramatically in recent years, with digital
recording, editing, and broadcasting on
computers replacing the use of much recording
and editing equipment. Audio tapes in radio
stations are fast becoming a thing of the past.
Those working in technical fields in radio must
be competent with the necessary computer
skills.
Public perception and expectation of what
radio should offer has also changed. Due to the
12 | Journalism & Media
increase in local radio stations, listeners now
expect to have access to radio that refers to
their own region, as well as national stations.
The ideal candidateAs with film and television, apart from training,
an ideal candidate will have initiative, great
communication and people skills, will be
punctual and reliable and able to meet
deadlines. Determination and tenacity are also
required! Those working in radio will need to be
very adept at thinking on their feet and dealing
with unexpected situations, as many
productions will go out live. For those actually
presenting, the ability to get their ideas across
clearly and audibly is essential. A pleasant
sounding voice is always a help, but this does
not imply any specific accent.
Starting outTypical responsibilities and tasks for entry level
positions include:
• shadowing someone more experienced
• sourcing ideas
• pitching for stories
• background information research
• establishing phone contacts.
Getting a jobIn order to get a job, you have to know where
you would like to work. Listening to radio is
crucial to make this decision. Having made this
decision, persistence is key. A common theme
for graduates now working in radio is that
constant phone calls ( just short of
harassment!) and sometimes literally ‘banging
on doors’ were necessary to get that first
contact. It is important to meet if possible,
rather than writing or making a phone call.
A portfolio on tape to bring to meetings is
essential. This should reflect a variety of styles,
introduce some music, some news, weather,
and interviews. Your portfolio should also be
included with your CV in job applications.
Applications and interviewsIn the field of radio, work experience can often
lead to a first job. In these cases, interview
processes will be quite informal. In the case of
more formal interview processes, calls for
interviews are often based on portfolios. This is
your tool to sell yourself.
On CVs, employers are generally looking for
experience over qualifications. Any experience
with college/community stations can be
included to demonstrate that you have the
necessary skills.
For broadcasting, interviewers may try to
test if you can react quickly and appropriately if
put on the spot. This is not about giving a
wrong or right answer, but to ascertain your
ability to think on your feet.
‘Don’t be afraid to speak with alocal accent, especially for localradio stations.’Nessa McGann, Community Radio StationManager
STARTING OUT STRATEGIES• Start small – try local or community
stations.• Seek volunteer or internship positions.
Bear in mind that there can be heavycompetition even for unpaid work. If youwork as a volunteer, you can find out ifyou really want this job or not.
• Don’t be picky about the type of work –even manning the phones can teach a lot.
go to | 13
SPEAKING CONVINCINGLYNAME Nessa McGannJOB Community Radio Station Manager, Wired FMEDUCATION BA, English & Philosophy (1998);MA (part-time while working), Media &Communications Studies (2003)
How did you get your job?I started offbroadcastingin college onthe campusradio stationas a volunteerand learnedthe‘productionstuff’ on thejob. Afterfinishing mydegree Istarted workat RTÉ in Cork.A contactgave me the phone number of someone whoworked there and I basically just rang themevery day for two months. Finally I was passedon to someone else and I was offered a job inthe newsroom with Pascal Sheehy and again, Iwas very much learning on the job. Eventually,I also started doing some work for Lyric FM.When I moved to Limerick for family reasons, Isaw an advertisement for my current positionin a newspaper and applied for the job.
What does the job involve?Nessa runs a radio station for students. Thismeans that she takes care of everythingincluding training students in radioproduction (she is an Irish Institute forTraining & Development trainer), fundraisingfor the station, making sure there’s a goodprogramming schedule, hiring and supervisingwork placement students, running specialprojects, events, live gigs and conferences.
How did your degree help prepare youfor your work?My liberal arts degree was a good foundationin that it developed my thinking processes andhaving studied Philosophy and English meansthat I can speak convincingly and endlessly onradio! My MA provided me with a theoreticalbackground.
What training have you received?As far as radio production is concerned, Ireceived no formal training. I learned throughmy volunteer work and also at RTÉ. Althoughthere was no formal training there, I learnedthrough practice.
Advice forgraduates• Don’t try to get
my job. You can’thave it!
• Having a degreeis importantbut havingexperience canbe morevaluable and ifyou have both, you are in the best positionto get a worthwhile job.
• Those starting out on a career in radioshould be aware that in Ireland, there is aculture of not paying young people. If youcan accept this, you can get invaluableexperience as a volunteer. In communityradio everyone is a volunteer and this can bea really great place to learn.
• Be persistent. If you want a job in radio, youwill have to fight for it.
• Networking is essential.• You are only as good as your last job, even if
it was unpaid.• Radio in Ireland is a very small pond; everyone
knows everyone – most people are willing tohelp. How you treat people is important.
• If you perform well on one project, you willbe recommended for others.
‘If you are unusualin some way –women in sportsradio are still afairly rare andexotic species – itmakes you morenoticeable.’
‘Always, always,always have ideas forstories, features andprogrammes. Andwrite them down!Otherwise you willforget them. Many’sthe great Friday nightidea that is forgottenby Saturday morning!’
14 | Journalism & Media
JournalismJournalism offers a structured career.
Ü
Journalism includes newspapers, magazines,
and online material (the internet is
beginning to prove itself a serious medium
for journalism, with many stories now being
broken by webzines). The industry is very
different to journalism a decade ago. This
change is advantageous to those now entering
the industry, as they are likely to be very
technologically savvy, in comparison with many
more experienced journalists who would have
started on typewriters and might not be as
comfortable with computers and the internet.
Newspaper journalism is fairly structured as a
career, with established salary scales and healthy
employment prospects. Starting salaries for
journalists usually range from between €20,000
and €25,000 (£13,000–£15,000) per annum, and
can range up to €45,000 (£30,500) and above
for mid-level to senior journalists. Working
hours and travel will very much depend on the
area covered but, apart from the constant battle
with deadlines, it is not difficult to achieve a
comfortable level of career stability.
For print media, many graduates can
proceed straight from a journalism course into
their first job, provided they can produce
examples of their work. Journalism is obviously
helped by qualifications but an ability to work
as a freelance journalist producing high-quality,
regular fare can get you places quicker.
Journalism in magazines and periodicals
differs from newspaper journalism in that
deadlines are less immediate and the journalist
will be writing for a narrower audience
(business, professional or consumer), which can
become very narrow indeed. There are a myriad
of publications catering to niche markets
(specialist consumer), which can seem quite
obscure to outsiders. Obviously, the type of
magazine will depend on the journalist’s own
interests. Magazine journalists can contribute
as a member of staff for a publication or work
in a freelance capacity. Working on the staff of a
magazine either falls under the category of
writing or editing, although small publications
may blur these boundaries.
The ideal candidateThe ideal candidate will have some training in
journalism, whether derived from a course or
on the job. Many journalists have degrees in
STARTING OUT TIPS• Those new to the field are usually required
to produce factual, dispassionate reports,not editorials or commentaries.
• Write often, not just for your portfolio, butalso to improve your language and editingskills.
go to | 15
other areas, such as economics or politics. The
following qualities are essential:
• excellent writing skills
• the ability to meet deadlines
• strong research skills
• the ability to work independently and
creatively
• strong news judgement
• well-developed analytical skills
• organisation and prioritisation skills
• quick response to breaking news
• interpersonal skills
• accuracy and attention to detail for fact-
checking.
For journalism on radio or television, a level
of comfort with the medium is required.
Starting outStarter jobs can include magazine assistant
editor or trainee, newspaper general
assignment reporter or monitoring the crime
desk for a larger paper. In the case of TV and
radio journalism, the starting point is normally
a production assistant or writing news copy.
Aspiring journalists can always try to get
freelance or contract work. Then there is the
opportunity to showcase talents online with a
mailing list, webzine or online column,
although this would produce no revenue at
first, naturally.
Getting a jobMost graduates will start small on local or
regional papers. The two main sources of
employment are newspapers and news
agencies.
Under Fair Employment legislation, jobs
have to be advertised in other newspapers. In
Ireland, the Sunday Independent has the most
widely read media section and therefore would
offer the lion’s share of advertisements for
media and journalism positions. Some positions
are advertised in the Business Post. Throughout
Ireland and the UK, The Guardian media section
is the most widely read media section. UK
positions are advertised here, but also more
senior positions for Irish publications. As
advertising in The Guardian is extremely
expensive, more junior Irish positions would not
usually be advertised, but sometimes if there is
a ‘cluster’ of vacant positions, these will all be
advertised together.
There will be many applicants for positions
advertised, but do not lose hope: typically, quite
a sizeable number of applications are
completely unsuitable, as they come from
people with no training or experience. However,
do bear in mind that, as with other industries,
many posts advertised will have internal
applicants, who often have a distinct advantage.
‘Specialisation in a particularsubject area while working on asmall local or regional paper willallow you to build up expertise forwhen you are ready to move up to alarger paper. Papers often advertisefor a correspondent for a particularbrief. It might be a differentgeographical area but with theexpertise you have developed, youwill know the language to convinceeditors that you can deliver thisbrief from the very start.’John McGarrity, Reporter
16 | Journalism & Media
STARTING OUT TIPSAttaching a photo with your copy does giveyour pieces an edge, so an interest inphotography does broaden your appeal toprospective employers.
‘Make sure your application letter isstructured like a reflective andanalytical news story.’John McGarrity, Reporter
NAME John McGarrityJOB Reporter, Point CarbonEDUCATION BA, History (1997); GraduateDiploma, Journalism (1999)
How did you get your job?After getting my Graduate Diploma inJournalism, I could have got a Masters if I hadspent another four months on a thesis, but atthat stage I was hungry for work. I got my firstjob with a news agency in Belfast throughcontacts who had finished the GraduateDiploma course the year before. I got mycurrent job through networking again. I keptin contact with colleagues who had alreadyleft the company I was working for in Belfast.Colleagues who started working with PointCarbon brought me on board.
What does the job involve?John generates news reports on Kyoto protocol(concerning emissions from factory and powerplants). This work entails liaising with a rangeof contacts from governments, companieswhich burn hydrocarbons to generateelectricity, colleagues involved with theproject, together with a wide variety ofpressure groups and non-governmentalorganisations. The job requires travel to thecompany headquarters in Oslo four or fivetimes a year for meetings (also providingopportunities for socialising).
How did your degree help prepare youfor work?My primary degree in History was very usefulin that it equipped me with research skills and
also developed my writing skills. My degreetaught me to write in an effective way – to getpoints across succinctly and still convey what Iwant to say with some flair. My postgraduatecourse was a lot more vocational and taughtme how to structure a story, as well aspractical stuff such as how to get a job. I alsogot to do a placement with the Business Postas part of my postgraduate degree.
What training have you received?A lot of the training I needed came from mypostgraduate course, but there was on-the-jobtraining as well.
Advice for graduates• The work can be interesting, but be aware
that it’s not as glamorous as it appears inbooks and films!
• The industry is now structured so that a lotof interviewing takes place by telephone.The whole interview process is verydifferent if you can’t see someone.Reporters don’t tend to go out door-stepping so much anymore.
• The pay in the UK can be rubbish!• I would advise those starting their careers
to specialise early, do a variety of reporting –weekly and local papers are a great placeto start, find your niche and build upexpertise.
• Whatever your field of specialisation is,you have to find it fascinating. You cannotwrite about a subject in an interesting wayunless you are passionate about it.
YOU HAVE TO FIND IT FASCINATING
go to | 17
One way around this is to ensure that you
yourself are an internal applicant, through
taking on voluntary or low paying work to get
started with a publication.
For those trying to make a start in broadcast
journalism, the path is much less
straightforward. Job opportunities tend to be in
specialised areas. Very few jobs are to be found
in the advertisement sections of newspapers
and those are for top positions. A lot of jobs in
the industry are filled by promotion from
within. A good strategy is to get a foot in the
door doing just about anything, even answering
phones, and then show initiative and make a
good impression.
Applications and interviewsYour application should include your CV,
portfolio and covering letter. When writing your
application letter for a newspaper, be aware of
the big stories and campaigns generated by
that publication.
Sometimes an advertisement will specify
that CVs should be accompanied by five ‘most
significant’ stories. Even if the advertisement
does not request a portfolio send one anyway.
Your portfolio should present a mixture of
hard news and features. If the position is in a
general news area, a variety of subjects should
be represented. Do not include any examples
which you do not consider to be strong pieces.
In interviews, you will probably have to explain
why you chose those particular examples. If you
can’t do this, don’t include them. If you do not
have a sufficient quantity of strong published
material, all is not lost. You can still write up a
story, submit it for publication and, even if it
doesn’t get published, you can attempt to
persuade the interview panel why it is a strong
piece and why it should be published. Then let
them decide!
The initial large number of applicants will
generally be whittled down for interviews.
News agencies and larger newspapers will
generally have a two-tier interview system
(smaller or more regional publications may be
much more informal about the whole process);
a first interview with the editor or head of desk
and a second with executives from the
publishing group and the editor.
Interviews may include some (or none) of
the following tests: shorthand; typing (not too
demanding, normally 30-40 wpm will suffice);
exercises with fragments of mock-up stories to
discern how you will put these fragments
together (story board, background, who you
would interview, your general narrative skills).
If an application leads to an interview, it is
essential that you know everything about the
publication. Graduates are continuously advised
to research the interviewing organisation
thoroughly. In this industry, you really can’t
research minutely enough. Your research should
not just include the subject area covered by the
organisation but also financial information,
who their personnel are and what they have
written.
18 | Journalism & Media
YOU NEED A LOT OF DRIVENAME Darren FrehillJOB Sports Journalist, TV3EDUCATION National Certificate inHumanities – Radio Broadcasting (1998)
How did you get your job?I had worked in Galway BAY FM at weekendswhile I was at school. I was only paid a fewodd bob, but I did it for experience. Because Iloved sport, I started ringing in results, then Igradually built up to do reports. Staff atGalway BAY recommendedthat I do the course in DúnLaoghaire for technicaltraining. When TV3 came online, I sent in a CV. I wasoffered freelance work atfirst and it took off fromthere.
What does the jobinvolve?Darren performs a number of tasks in theSports Department. First of all, he is a sportsreporter; he also commentates onChampionship League, which he presentstwice a week. He produces the nightly showSports Tonight, and is deputy producer forChampions League. He works ‘flat out’ everyday and each day is different.
How did your degree help prepare youfor your work?My course gave me a lot of confidence withequipment and systems, and also a lot ofconfidence in my own abilities. It put me intothe mode of thinking of a producer/reporter,so I was not intimidated going to work at TV3.I met a lot of good contacts through thecourse. There was a real mixture at college,people who are now very successful in theirown field. The lecturers at the time weresenior journalists with national papers andbroadcasters with RTÉ, so I learned a lot from
them and they also helped with contacts.During the course, I also got some workexperience with RTÉ which was absolutelyinvaluable. In hindsight, some of the mostvaluable parts were the English modules andthe training in how to write for differentmedia – I’m now writing a lot of scripts.
What training have you received?The most important was the training atGalway Bay FM. Many people think that TVand radio are very different, but a lot of the
ground rules are verysimilar.
My degree course wasvery good from a trainingperspective. There was acollege radio station and alot of the first year wasspent starting a radiostation from scratch,
aiming to broadcast, scripts, admin, applyingfor a licence, the lot. It was very wide-reachingand all very useful.
Advice for graduates• It’s very competitive. You have to really want
it. You also have to have a lot of drive. It’srare that you will walk into a good job rightaway, so be persistent. Months or evenyears can go by before you get your bigbreak.
• You need to love the subject matter, or youwon’t present well.
• Know what you’re getting into – exploreyour options.
• Contacts are vital. Anyone you meet whocan help, take down their name andnumber and keep in touch – even if youdon’t know if it will be useful, it may belater on.
• When you are in the job, try to get an insideline.
• The most important thing is not to getdisheartened.
‘Many people think that TVand radio are very different,but a lot of the ground rulesare very similar. ’
go to | 19
Further study and coursesThere are many opportunities for building your skills.
Ü
Film and TV production coursesThe following colleges offer specialist
qualifications at diploma, degree and
postgraduate level:
• The National Film School at IADT Dún
Laoghaire: www.iadt.ie• The UCD School of Film: www.ucd.ie/film• Ballyfermot College of Further Education:
www.bcfe.ie
Other training for film and TVIt is not always necessary to complete a higher
diploma or degree to access the particular skills
required for a job. There are now many sources
of training to fill any gaps in required skills.
FÁS Screen Training Ireland
www.screentrainingireland.ie. Screen Training
Ireland has an extensive training programme
(for ‘film, television, animation and digital
media’) on their website. Many of their courses
are aimed at those already working in the
industry in either a freelance or permanent
capacity. However, some are tailored to
‘emerging producers and production managers’,
‘trainee and assistant art directors’, etc.
There are also a number of training
organisations which provide training for new
entrants to the film and television industry:
Filmbase www.filmbase.ie. Filmbase is a
support organisation for independent film and
video makers in Ireland, which offers training
and development for both new entrants and
more experienced professionals.
Galway Film Centre www.galwayfilmcentre.ie.
Galway Film Centre provides training to
independent film-makers, artists, community
groups and schools at all levels, with an
emphasis on practical, hands-on training.
Northern Ireland Film and Television
Commission www.niftc.co.uk. NIFTC run
workshops for those new to the industry. They
20 | Journalism & Media
also provide advice and assistance to
experienced industry professionals.
Skillset www.skillset.org. The specialist
careers information, advice and guidance
service for broadcast, film, video, interactive
media and photo imaging in the UK, including
Northern Ireland.
Training for journalistsThose graduates focusing specifically on a
career in journalism should note that the
National Union of Journalists approves courses
offered by the following colleges: Dublin City
University, NUI Galway, Dublin Institute of
Technology, Griffith College, Ballyfermot College
of Further Education, Coláiste Dhúlaigh.
Courses range from post leaving cert to
postgraduate level.
Advertisements for journalism positions will
often refer to a degree as desirable, but rarely
essential. Although there is no formal
qualification required to work as a journalist, in
practice, a degree at undergraduate or
postgraduate level has become the norm. It
would appear that undergraduate and
postgraduate courses are equally valid.
Further informationYou can search the database on
postgradireland.com for details of current
postgraduate courses.
‘The mechanics of film-making –shot and counter-shot, not crossingthe line, keeping the boom out ofthe frame – are things that can betaught. The qualities that make agood film-maker – vision,originality, good judgement andthe ability to work with others – arethings that must be learned.’Lir Mac Cárthaigh, FilmIreland Jul/Aug 2005,Filmbase
go to | 21
Further informationÜ
General• www.prosperity.ie Media recruitment site:
gives a good breakdown of the areas within
this career and starting salaries, etc.
• Learning Ireland www.learningireland.ieDatabase of training courses, evening classes,
etc.
Film & Television • Access Cinema www.accesscinema.ie
Formerly Federation of Irish Film Societies.
• Bord Scannan na hEireann/Irish Film Board
www.filmboard.ie• Cork Film Centre (formerly CAVERN)
www.corkfilmcentre.com Film resource centre
for local film-makers. Runs incentive with RTÉ.
• Film Base www.filmbase.ie Dublin-based
resource centre for low budget and young
film makers. Publisher of Film Ireland. Runs
incentive with RTÉ and co-ordinates training
courses with Screen Training Ireland.
• Irish Film Institute www.ifi.ie Based in the
Irish Film Centre, responsible for promotion
of film in Ireland and runs Irish Film Archive.
• Film Ireland www.filmireland.net Published
monthly by Film Base, the Centre for Film and
Video Ltd.
• Galway Film Centre www.galwayfilmcentre.ieFilm resource centre for local film-makers.
Equipment, training, information and
production facilities provided at non-
commercial rates. Publishes quarterly Film
West.
• Irish Business and Employers Confederation
www.ibec.ie• Irish Film & Television Network www.iftn.ie
Representative body for audio visual industry
in Ireland.
• Screen Training Ireland
www.screentrainingireland.ie Works with
FÁS to develop and implement national
training strategy for the audio visual industry.
• RTÉ www.rte.ie• TVthree www.tv3.ie• TG4 www.tg4.ie• Windmill Lane Pictures Ltd
www.windmilllane.com Post-production
facilities house.
• Irish National Cinema Barton, R (2004)
Routledge.
• Report on Indigenous Audiovisual Production
Industry Coopers & Lybrand (1992).
• RTÉ and the Globalisation of Irish Television
Corcoran, F (2004) Intellect Books.
• The Bigger Picture, an Independent Economic
Report commissioned by Film Makers Ireland
on the Irish Film and Television Industry
McWilliams, D (1999) Film Makers Ireland.
22 | Journalism & Media
Radio• Broadcasting Commission of Ireland
www.bci.ie• Community Radio Forum of Ireland
www.craol.ie• Radio Waves www.radiowaves.fm• Today FM www.todayfm.com
Journalism• National Union of Journalists (covers Ireland
and UK) www.nuj.org.uk• Irish Writers’ Union www.ireland-writers.com• International Federation of Journalists
www.ifj.org• Newslink www.newslink.org Opportunities
for journalists in the United States.
• Periodicals Publishers’ Association
www.ppa.co.uk• The Newspaper Handbook Keeble, R (1998)
Routledge
For the UK• British Broadcasting Corporation
www.bbc.co.uk• Hold the Front Page
www.holdthefrontpage.co.uk Biggest source
of advertisements for jobs with local papers
in the UK.
• Skillset www.skillset.org Sector Skills Council
for the audio visual industries. Funded by
industry and the government, offers training
and circulates job opportunities.
The Association of Graduate Careers Services inIreland (AGCSI) is the professional associationfor careers services in higher education inIreland, north and south. It fosters co-operationamong the individual careers services,producing a range of careers publications forstudents and graduates.
GTI Ireland is a division of GTI SpecialistPublishers, one of the leading graduate careerspublishers in Europe, publishing over 100careers magazines and directories each year aswell as the graduate careers website for the UKdoctorjob.com.
GTI Ireland, 7–9 Upper Baggot Street, Dublin 4
Titles in the seriesArts & Social SciencesBusiness Studies, Commerce & EconomicsComputing & ITConstructionEngineeringFinanceHealth SciencesHospitalityLanguagesLegal ProfessionMediaPostgraduate Study & AwardsPsychologyScienceSocial WorkTeaching & EducationWork Experience
Written by careers advisers and available todownload at gradireland.com/publications